SUPERMAN RETURNS edition The
Man of Steel Grounded in a Disappointing Return Plus: THE MATADOR, ULTRAVIOLET, New
Midnite Movies and More!
One of my first, and fondest, movie memories is of Christopher Reeve
taking to the skies in “Superman II.” It was a rainy summer
day and I still have vivid recollections about that experience, from
the action sequences of Superman fighting the Phantom Zone villains to
the “mushy stuff” involving Clark and Lois in Niagara
Falls. The combination of Christopher Reeve’s performance with
the script’s perfect mix of action, romance and comedy, capped by
the triumphant music of John Williams (even though it was adapted by
Ken Thorne with a smaller orchestra) sold me forever on the power of
the cinematic medium and, to some extent, the Man of Steel himself.
That takes us to my recent screening of SUPERMAN RETURNS
-- a movie that opened Wednesday on a blustery, rainy late June day in
southern New England, a setting very similar to when “Superman
II” captivated me some 25 years ago.
I’ve seen plenty of movies since then, and we all know that the
excitement you feel as a kid going to the movies just isn’t the
same when you’re an adult. That said, I still felt a flash of
anticipation when the lights dimmed for “Superman
Returns”....and even more so when the strains of John
Williams’ classic theme blasted on the soundtrack (even if it was
in a plastic arrangement that failed to match the efforts of Ken
Thorne).
Director/co-writer Bryan Singer had gotten it right, no doubt: here was
the ultimate way to begin his new film -- a sequel of sorts to the
Reeve pictures -- and it couldn’t have possibly set the mood any
more perfectly than it did: recycling the old credits, with the
original music, in a way that nearly brought the comparatively few fans
sitting around me to their feet.
And then the movie started proper...and, regrettably, I never felt that
the picture soared quite as high again.
While “Superman Returns” (**) is anything but a turkey, it
nevertheless suffers from a weak screenplay that never once instills a
sense of urgency in the viewer. Perhaps that’s due to Singer
wanting to pay homage to the Reeve films while simultaneously
fulfilling the obligations of a “modern” spectacle. True
enough, this version is more than respectful of the older films,
incorporating references from production design to arbitrary quotes of
John Williams’ score and even obscure bits of trivia (like the
Kryptonian rock from Addis Ababa).
At the same time, “Superman Returns” is also so solemn --
almost totally lacking in humor -- that it never approximates the sense
of fun that the Alexander Salkind-produced movies had in spades. Like
too many recent comic book movies, it inflates the importance of its
roots, opting instead to apply an ersatz “mythological”
undercurrent to the entire story -- essentially portraying Superman as
a Christ-like figure and spending far too much time on shots of its
hero flying around, contemplating his existence from afar -- that it
strips the picture of the unabashed pleasure viewers extracted from its
predecessors...not just the “Superman” movies but also
other adaptations like the “Lois and Clark” and
“Smallville” television series as well. Ultimately, the
film left me feeling that its central idea (credited to Singer, Dan
Harris and Michael Dougherty) was simply misguided from the
get-go.
Singer’s rendition opens with Superman having been away for five
years, searching the distant reaches of the galaxy for the remnants of
Krypton. He returns, “reborn” as it were, as a 24-year-old
Kal-El played by Brandon Routh in what turns out to be a shockingly
thankless role. Routh looks like Reeve as Clark Kent and channels his
predecessor’s mannerisms effectively, but as time passed in the
film, I wanted something more from Routh: it’s one thing to do a
Christopher Reeve impersonation but Routh never seems to channel the
Man of Steel’s soul. It’s a safe, calculated performance --
likely the fault of the script and Singer more than Routh himself --
and I never felt as if the movie was really asking the actor to do much
more than essay the part as Reeve would have...which is unfortunate
because no one can really duplicate the late actor’s heartfelt,
convincing performance as Superman.
Clark returns home to Smallville and reunites with his Earth-bound
mother Martha Kent (Eva Marie Saint) in a somewhat awkward
“recap” of the Superman legend (Singer doesn’t want
to tread over any previous origin viewers may be aware of, so he uses a
quick flashback of Clark growing up instead), and then quickly heads to
Metropolis. Sadly, this isn’t the Metropolis you remember from
the old movies -- in other words, it doesn’t have the “real
world,” authentic look that Richard Donner and his associates
brought to the first “Superman” film. This Metropolis is
overly-stylized, I’m afraid, with plenty of arty shadows, a bit
of CGI and Art Deco-inspired sets that all too tellingly mark the film
as a product of 2006.
Upon returning to the Daily Planet, Clark finds Lois (Kate Bosworth)
now with a five-year-old son and a new beau in Richard White (James
Marsden), the nephew of the paper’s cantakerous editor Perry
White (Frank Langella). Lois’ relationship with Superman
didn’t end well, so when the Man of Steel returns and saves a
space shuttle mission that Lois is covering, she feels torn between her
Pulitzer-prize winning column about “Why We Don’t Need
Superman” and the Earth’s obvious, newfound excitement over
the Man of Steel’s return. Meanwhile, Lex Luthor (Kevin Spacey)
is also up to his old tricks, deciding to steal crystals from the
Fortress of Solitude and literally create his own continent that would
also submerge the United States of America in the process...
One of the things that struck me about “Superman Returns”
was how little the script did to support its actors.
Spacey is completely ineffective as Lex Luthor here, and the movie
tends to grind to a halt whenever he’s on-screen. Lacking both
the deft comedic touch that Gene Hackman brought to
“Superman” I and II as well as the young, charismatic and
suave approach that Michael Rosenbaum brings to his incarnation on
“Smallville,” Spacey is adrift in every way in
“Superman Returns,” serving up a Luthor who’s neither
funny nor villainous. The screenplay lacks witty one-liners and
likewise manages to completely waste the considerable talents of Parker
Posey as Luthor’s female foil -- the kind of role that Valerie
Perrine embraced so memorably in the original films -- plus Kal Penn,
who receives prominent billing but barely a word of dialogue as another
of Lex’s associates. Calling Spacey and the Luthor element of the
movie a disappointment is an understatement (ditto for the Daily
Planet, where Sam Huntington’s Jimmy Olsen and Langella’s
Perry White have precious little to do but say their few lines and move
on, making as little noise as possible).
Bosworth wouldn’t have been my first choice for the female lead
but she’s acceptable, albeit bland when compared to other
on-screen Lois Lanes (even “Smallville”’s Erica
Durance has considerably more personality than her big-screen
counterpart). Nevertheless, I didn’t mind her nearly as much as I
thought I would, given that the movie presents us with a 22-year-old
(and Pulitzer prize-winning) Lois having a five-year-old son in tow.
The big problem is that for all the effects, all the bombast, and the
bloated running time, “Superman Returns” offers few
crackerjack action sequences (the opening shuttle rescue is solid but
everything after it is leaden by comparison) and is, ultimately,
anything but compelling.
At its worst the movie is downright dull in stretches, with
Luthor’s plan of creating another continent feeling like the
backing for a bigger, grander apocalyptic premise...which the film
doesn’t offer. Maybe if Spacey’s Luthor had been supported
by the Phantom Zone villains or another menace, the movie might have
worked better, but on its surface the basic idea propelling the
film’s premise isn’t very interesting.
Neither, ultimately, is the relationship between Lois and Superman. For
a movie that’s supposed to offer a grand “love story”
the movie is surprisingly bland, with Bosworth and Routh failing to
ignite the sparks one would come to expect from these characters
(indeed, perhaps a major failing of the filmmakers casting young actors
in roles that inherently carry a lot of emotional baggage as written).
More over, Singer and the writers never bother to really establish a
triangle between Lois, Clark and Richard White, while the aspect of
Lois’ son...let’s just say without spoiling its
significance that it’s going to throw potential
“Superman” sequels into a direction some fans may have
little interest in watching play out.
Technically, “Superman Returns” is polished but John
Ottman’s music is telling of the picture’s shortcomings.
Williams’ themes are re-used throughout but they ultimately serve
to illustrate how disappointing Ottman’s fresh contributions to
the movie are by comparison. The composer’s new motif for
Luthor’s gang is jaunty and memorable, but the rest of his score
-- with its over-blown chorus and a particularly unsatisfying
“flying” cue that apprehensively recycles “Can You
Read My Mind” -- just doesn’t work, and the sheer amount of
loud, shrill music ultimately overstays its welcome. (On the other
hand, there are several cues in the movie that I would’ve liked
to have heard on the album, but alas, the soundtrack CD clocks in only
at 55 minutes, leaving out Ottman’s usage of the
“Krypton” fanfare among other cues).
“Superman Returns” has its heart in the right place but
fans will ultimately demand more than that and I’m not sure if
this massively-budgeted epic will prove to be the real
franchise-igniter it’s intended to be. Call it a disappointing
return for the Man of Steel, who’s undone here not by Kryptonite
but rather unremarkable performances and a bland and tedious script
that grounds Superman right when he ought to be flying high on-screen
again. (PG-13; Warner; 154 minutes).
If you’re looking for a Man of Steel fix this week to supplement
your viewing of “Superman Returns,” Warner has free and/or
discounted ticket vouchers inside many of their Superman DVD packages I
covered last week (including “Superboy: The Complete First
Season” and “Superman: Brainiac Attacks”).
The free ticket vouchers (good for a single admission to the new movie,
covering $10.50 and expiring 7/30) are also available in marked copies
of SUPERMAN:
THE ANIMATED SERIES: Volume 3 and JUSTICE LEAGUE:
Season 2 (Warner).
The creative minds behind “Batman: The Animated Series”
reunited for their own treatment of the Man of Steel, and while
“Superman: The Animated Series” didn’t prove to be
quite as long-running as the Dark Knight’s show, fans still rank
this adaptation with the best Superman renditions in the visual medium.
Previous Warner Home Video box-set collections assembled the initial 36
episodes from the series, and the studio’s new two-disc set
contains the remaining 18 shows (the back packaging erroneously
indicates that it’s a three-platter release). The episodes here
alternate between self-contained stories and more ambitious multi-part
“arcs,” which introduce Supergirl (“Little Girl
Lost”) and feature appearances by the likes of Aquaman, the Green
Lantern, Apokolips and others.
Needless to say if you enjoyed the earlier “S:TAS” box sets
this new release is an obvious must-purchase, with commentaries
contained on the episodes “Apokolips...Now! Part 2,”
“In Brightest Day,” and the finale episode, “Legacy
Part 2,” from producers Bruce Timm and Glen Murakami plus writers
and other artists as well. One new featurette, “Superman: Behind
the Cape,” includes an interview with this version’s Jimmy
Olsen, David Kaufman, who shows viewers behind the scenes, while an
extract from the recent “Look, Up in the Sky!”
A&E/Warner documentary is also on-hand. The full-screen transfers
and 2.0 Dolby Digital surround soundtracks are likewise superb.
Finally the second season of “Justice League” has also
materialized in time for the Man of Steel’s new movie, with Bruce
Timm and Co. settling into their groove in this collection of 26
sophomore-season episodes from the Cartoon Network series (still being
produced under the slightly-modified “Justice League
Unlimited” moniker).
As with JL’s first season, Timm and his co-producer James Tucker
opted to go the multi-part route exclusively with the series, enabling
the vast roster of DC heroes (Supes, Batman, Wonder Woman, Glenn
Lantern, The Flash, Hawkgirl and Martian Manhunter) time to each get
involved across the two, sometimes three-episode long story arcs.
The animation and production values are again strong in season two,
with Warner’s four-disc set containing non-anamorphic widescreen
transfers and 2.0 Dolby Surround mixes, plus commentaries on the
episodes “Twilight Part 2,” “A Better World Part
2,” and “Starcrossed Part 3,” which concludes the
set. Like “Superman” above, there’s one additional
featurette, “Justice League Declassified,” with Green
Lantern voice Phil Lamaar giving you a tour of the production.
Highly recommended for DC fans of all ages, with the pot being
sweetened by the ticket coupon for “Superman Returns,”
which I assume nearly everyone in the fan base will be energized to see
this week! Aisle Seat Pick of the
Week
THE MATADOR
(***, 2004). 97 mins., R, Weinstein/Genius Products. DVD SPECIAL
FEATURES: Commentary tracks; Deleted/Extended Scenes; Making Of
featurette; 16:9 Widescreen (2.35), 5.1 Dolby Digital sound.
Surprisingly funny, well-played and offbeat character study from
writer-director Richard Shepard stars Pierce Brosnan as a gruff hitman
who meets harried American businessman Greg Kinnear while in Mexico;
the duo bond and ultimately tutor each other in seeking pleasure out of
the game of life, including Kinnear becoming involved in one of
Brosnan’s latest “assignments.”
“The Matador” is raunchy but consistently amusing and
unpredictable, with Brosnan and Kinnear offering well-shaded
performances that ably back the demands of Shepard’s eclectic
script. Though laced with black humor, this is not nearly as bitter a
cinematic pill as Brosnan’s “Tailor of Panama,” with
the actors and filmmaker straddling the line between dramatic and
comedic elements consistently throughout. The mix may not be completely
successful but, for the most part, “The Matador” is a
refreshing and always-entertaining ride well worth seeking out on DVD.
The Genius Products DVD is filled with special features as well,
including commentaries with Shepard and the stars; a list of extended
and/or deleted scenes with optional commentary; a Making Of featurette;
trailers; and an assembly of radio programs discussing the film. The
2.35 (16:9) transfer is colorful and crisp, and the 5.1 Dolby Digital
sound highly satisfying, featuring a top-notch collection of rock
‘n roll and Rolfe Kent’s solid original score. New From Sony
ULTRAVIOLET:
Unrated Edition (**, 2006). 94 mins., Sony. DVD SPECIAL FEATURES:
Making Of featurette; Milla Jovovich commentary; 16:9 (1.85)
Widescreen, 5.1 Dolby Digital sound.
Writer-director Kurt Wimmer’s second stab at a futuristic sci-fi
action film (following the flawed but under-appreciated
“Equilibrium”) is a 94-minute video game masquerading as a
feature, with a laughable story, non-existent characters, and a glossy
visual sheen.
Taking a break from the “Resident Evil” series long enough
to appear as another tough action heroine, Milla Jovovich stars as
Violet, a woman afflicted by a disease that turns its victims into
super-human “hemophages” who are shunned and exterminated
from a futuristic society. Now crusading against their world’s
oppressive human rulers (including the totally ineffective Nick
Chinlund), Violet has to tackle a new assignment: take down the latest
weapon of the other side...which turns out to be a young boy (Cameron
Bright) who offers a cure for the disease.
It’s been reported that “Ultraviolet” was taken out
of Wimmer’s hands and cut to shreds by the studio, which is
entirely possible given the absurd, thinly-drawn plot and scant
character development. Impossible to accept from any sort of dramatic
standpoint, “Ultraviolet” is still a good-looking film with
colorful action sequences and a decent performance from Jovovich, who
likely could have parlayed this role into a franchise of her own had
the movie supported her with any kind of story. Needless to say it
doesn’t, and it won’t take long before your patience will
be tested by a film that seems to have emulated “Sky
Captain” with its CGI-enhanced backdrops, as well as “Aeon
Flux” with its tale of a kick-ass sci-fi heroine.
Sony’s Unrated DVD edition, out this week, contains a spectacular
16:9 transfer. It may not be HD-worthy but it’s darn close, with
strong colors and perfectly framed picture making for a robust visual
presentation. The 5.1 Dolby Digital sound, containing a thankless Klaus
Badelt action score, is likewise active.
Not having seen the theatrical version, I can’t tell you how
different this Unrated version is, other than that it’s six
minutes longer than the PG-13 cut (available separately) and likely
still isn’t the original version Wimmer had in mind when he made
the film (assuming those stories of post-production tinkering are
valid). Extras are limited to a sporadic commentary from Jovovich and a
Making Of featurette.
At best, “Ultraviolet” is arguably worth a rental for
easy-to-please sci-fi fans with TVs large enough to appreciate the
visual presentation.
BLACK HAWK
DOWN: Extended Version (****, 152 mins., 2001, Sony): Ridley
Scott's visualization of the harrowing, real-life 1993 U.S. mission in
Somalia is a gut-wrenching, riveting film that puts many recent
military cinematic pictures (including a certain, overrated Steven
Spielberg Oscar-winner) to shame with its lack of speechifying,
cliches, and sentimentality. Sony’s new “Extended”
Version of “Black Hawk Down” adds some eight minutes back
into the movie, but truth be told, I had a difficult time picking out
the new footage from the theatrical cut, which I admittedly
haven’t seen in some time. What’s more, this single-disc
edition lacks significant extras (just a PBS Frontline documentary),
making it a tough sell when Sony’s outstanding, three-disc
Special Edition remains one of the DVD medium’s most superlative
packages. The 16:9 (2.40) transfer and 5.1 Dolby Digital soundtrack are
both excellent.
PRIVATE RESORT
(*½, 1985, 82 mins., R, Sony): Not one of the more
fondly-remembered ‘80s teen romps, “Private Resort”
is best known now for its early starring appearances of Rob Morrow and
Johnny Depp, who play a couple of young guys trying to score at a
Florida resort. This 1985 Tri-Star release runs a bit over 80 minutes
and is pretty much a by-the-numbers clone of
“Porky’s” and other films of its era, minus a story
or developed characters. In fact, everything in this George Bowers
effort is cardboard and cliched, wasting even the talents of Hector
Elizondo as a jewel thief who runs afoul of our heroes. It’s
sunny, silly, and instantly forgettable, and likely would never have
warranted a re-issue had Depp not received a prominent starring role.
Sony’s DVD neglects the merits of the movie and offers a decent
16:9 (1.85) transfer with mono sound.
YELLOWBEARD
(**, 1983, 96 mins., PG, Sony): Disappointing comedy from Monty
Python’s Graham Chapman tried to utilize a Mel Brooks-ian
approach for this send-up of the pirate genre. Regrettably, despite a
game cast, “Yellowbeard” died at the box-office during the
busy ‘83 summer season and has been forgotten almost completely
since. Chapman plays a pirate who finds out he has a son after spending
20 years in prison; an all-star supporting cast with numerous Brooks
and Python alumnus (Peter Boyle, Marty Feldman, Madeline Kahn, John
Cleese, Eric Idle) tries hard to support the Chapman-Peter Cook-Bernard
McKenna script with laughs, but most of “Yellowbeard” is
pretty desperate, with long stretches of tedium marking its 96 minute
running time. Sony’s DVD sports a respectable 16:9 (1.85)
transfer with 2.0 mono sound, with a fairly forgettable John Morris
score likewise attempting to stir up the comedy.
MIDNITE MOVIES
Double Features: CRYSTALSTONE/THE BOY AND THE PIRATES and FORTUNES OF CAPTAIN
BLOOD/CAPTAIN PIRATE (Sony):MGM’s beloved DVD anthology of
“Midnite Movies” seemingly came to an end after the
studio’s library was gobbled up by Sony, but their new
distributor has seen fit to resurrect the label this week -- at least
for a pair of new double-disc packages, obviously issued to coincide
with the upcoming release of “Pirates of the Caribbean 2.”
The first set offers CRYSTALSTONE -- a 1988 Spanish-produced family
film, presented in 1.85 (16:9) widescreen -- plus the Bert I. Gordon
1960 juvenile effort THE BOY AND THE PIRATES, which UA released
theatrically and Sony offers here in 1.66 (non-anamorphic) widescreen.
The second -- and far superior -- package presents a pair of vintage
Columbia-produced, Louis Hayward-starring efforts including the 1950
adventure FORTUNES OF CAPTAIN BLOOD and its 1952 sequel CAPTAIN PIRATE.
Both of the latter offer satisfying Saturday Matinee fun for young (and
young-at-heart) viewers, and are presented in their original 1.33
aspect ratios with acceptable Dolby Digital mono sound. The soundtracks
for both movies are also a blast, with Paul Sawtell offering a robust
score for “Fortunes” and George Duning filling in admirably
in the sequel.
Both releases offer moderate genre entertainment at low prices
(especially the Hayward set), but for superior pirate fare, save your
plunder for Fox’s “Black Swan” Special Edition coming
up in July (and which I’ll have covered in next week’s
Aisle Seat). Also New on DVD
ANNAPOLIS (**,
2006, 103 mins., PG-13; Touchstone): For those too young to
remember old-school films like “Rocky” or “An Officer
and a Gentleman” -- or the countless other movies
“Annapolis” was “inspired” by -- this
teeny-bopper effort is watchable enough. After slogging through
“Tristan and Isolde,” James Franco fares better in a more
contemporary role here as a young man driven to join the Navy, who ends
up butting heads with tough commander Tyrese Gibson and falling in love
with cute (but hardly convincing) officer Jordana Brewster. It’s
all eventually settled in a climactic fight that you can see coming
from miles away, but director Justin Lin coaxes competent performances
out of his cast and the film is entertaining enough to work...provided
you can distance yourself from writer Dave Collard’s
overly-familiar premise. Touchstone’s DVD includes director
commentary, deleted scenes with optional commentary, and two Making Of
featurettes. The 1.85 (16:9) and 5.1 Dolby Digital soundtracks are both
top-notch, with Brian Tyler’s score aiming for the heroic strains
you’d expect it would.
COMMANDER IN
CHIEF: 2-Disc Inaugural Edition (2005-06, 10 Episodes, 427 mins., Buena
Vista): This ABC series attempted to pick up audiences while
NBC’s “The West Wing” faded into the sunset, but
after a strong start in the ratings, “Commander In Chief”
fell apart, a victim of rapidly-declining viewership and reported
strife behind the scenes (producer Rod Lurie was removed from his
duties early on, and was ultimately replaced by “show
runner” Steven Bochco to no avail). Geena Davis did, however,
give it her all as the nation’s first female president, and was
backed by a solid supporting cast including Donald Sutherland as the
Speaker of the House. The stories, though, lacked the intrigue of the
early years of “The West Wing,” often steering towards
controversy instead of riveting or consistent drama. Buena Vista has
apparently decided to offer the show on DVD in two volumes, with this
first two-disc “Inaugural” set compiling the series’
initial 10 episodes. The transfers (1.78, 16:9 widescreen) and sound
(5.1) mixes are both excellent across the two platters, with no extra
supplements on-hand.
THE
LIBERTINE (**½, 114 mins., R, 2005; Weinstein/Genius Products):Excellent production values and superb performances highlight
this uneven biopic of one John Wilmot, poet, playwright, and Earl of
Rochester who engages in drinking, debauchery and general
self-destruction in Restoration-era England; needless to say, after 114
minutes, Wilmot easily owns up to his early boast to the audience that
we won’t like him. John Malkovich is King Charles II and Samantha
Morton is terrific in a somewhat under-written role as Elizabeth Barry,
the young actress whom Wilmot tutors in his new work, and it’s
the performances that make “The Libertine” worth viewing.
Director Laurence Dunmore and writer Stephen Jeffreys (adapting his
play) have fashioned a dark, grainy visual experience apropos to the
subject matter, especially in the graphic later stages when Wilmot
succumbs to venereal disease(s) and begins to literally waste away.
“The Libertine” isn’t easily-accessible and sat on
the shelf for well over a year while the filmmakers tried re-editing it
(longer versions were screened to generally poor notices on the
festival circuit), but it’s a noble effort in spite of its flaws,
worth seeing if only for Depp’s characterization. Genius
Products’ DVD includes numerous deleted scenes with optional
comments from Dunmore, who also gives a full commentary during the
film; a Making Of featurette and the trailer round out the disc, which
sports a muddy 2.35 (16:9) transfer with 5.1 Dolby Digital sound, the
latter containing an appropriately somber score from Michael Nyman. NEXT
TIME: A Fourth of July spectacular with Fox
catalog titles, THE BLACK SWAN, and More!Don't
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we'll catch you
then. Cheers everyone!
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